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some definite relation shown between the minimum, the extended and capital letters. It is not well to have one long loop and one 
short one, nor one large capital and one small one on the same page. Uniformity or consistancy is essential. 

This likeness or similarity of letters is what determines the really good from the medium and poor or unprofessional. Similarity 
of style, or slant, of shade, of proportion, of simplity or complexity is essential for real excellence. 












































































































































































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ing the lines, or fast enough to keep the wabbles out of curved forms. Rapid writing is out of the question wheie leal gracefulness 
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know that we do not mean that it should be made without effort. For no matter how easy the exercises appear after they are made, 
they usually take all the attention one can give them to make them fairly accurate. 

Make all of your practice about one-fourth larger than the forms presented. At times it would be well to double the size of the 
forms, particularly of the capitals. 












































































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RAISE THE PEN OCCASIONALLY. You may (should) raise the pen at the dot of r and in making c. Check the motion at the 
shoulder of the second style r but do not stop it. Raise the pen as suggested in s. \ ou should make the down strokes in s and o 
more quickly than the average down strokes in order to curve them well. The little finger need not slip in making the small o, but 


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best, but whether it is their using or my thinking that is wrong you must determine for yourselves. 

Do not shade all a’s nor omit shade on all o’s. It is a good plan to learn to shade every other a or 0 in your practice. Be sure 
to close your o’s at the top and to make them rounding and full. Curve the down stroke of the s considerably and raise the pen at 
least once in making it. Do your best each time. Make no stroke carelessly. Aim, at all times, to practice thoughtfully and with 
the view of improving each and every form. This will mean mental as well as muscular effort. 








































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The exercises from which the capitals are formed should be bold and yet delicate. This double quality demands that they be 
executed in a bold-like manner, but with a touch that is delicate and uniform. Considerable power should be generated and held in 
reverse in order to do the work confidently, gracefully and with ease. 
























CO 

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There are two movements necessary in the execution of shaded and unshaded lines in capital letters. In order to produce the 
ovals, a horizontal movement is necessary with considerable force in order to obtain the required momentum to make the ovals 
graceful and symmetrical. The other motion is the opposite of the horizontal motion mentioned. "1 hat is, it is up and down, or ver¬ 
tical to the surface of the paper. It is one we employ in order to produce the shades, for the pen must be pressed toward the paper 
and lifted from it quickly, skillfully and elastically in order to produce an increasing and diminishing shade, such as is necessary in 


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other is not symmetrical; no more so than a tree that has all of its limbs on one side. 

Begin therefore to question yourself thus: Are the curves in my small letters graceful? Are the loops symmetrical? Are the 
ovals in my capitals symmetrical; that is, are the curves the same on each side, or nearly so? 


A FEW PARTING WORDS ABOUT SMALL LETTERS. Now, since we have begun the practice of capitals, do not neglect the 
small letters. Keep in mind the fact that they are of chief importance, and that your success as a penman will be more sure and 


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capitals as well as in small letters. These letters should be made with a full, free, circular action. The shades should be made 
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pleasure in acquiring them. Confidence is essential in bold, delicate, graceful, accurate capital practice. Observe carefully the 
location of the shade, where it is heaviest, where it begins and terminates, etc. 









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Endeavor to digest the meaning of the last line and to allow it to crop out of the sleeve and pen in the form of a graceful, ac¬ 
curate script. Keep in mind that it is not alone quantity of practice but quality or kind of practice that develops superior penman- 

























SPEED AND SHADE. Let the pen be driven over the paper with considerable speed and force. Make the first exercise at the 
rate of about ioo down strokes per minute. The heaviest part of the shade should be placed at about half the height. The shade 


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raise the pen in the L the same as though I were going to make an S. This, is seems to me, is much easier and surer. And sure¬ 
ness is one of the essentials of professionalism. If you cannot write with reasonable sureness (which means to make nine good let¬ 
ters to one poor one, or to make a good one whenever you make up your mind to do so), you are yet a mere learner—a student, and 
not a proficient penman. Sureness is a very essential element of fine penmanship. 


















































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sooner you discover yourself, your own perculiar style, the sooner you will be considered a penman. Even though your style is 
as fine as some one else’s, if it is original and yours, it will be considered more favorably than if it is an imitation. 




















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The four preceding plates were prepared by E. A. Lupfer, instructor in the Zanerian College of Penmanship, Columbus, 


























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By E. A. Lupfer, Zanerian College of Penmanship, Columbus, Ohio. 











Written by E. A. Lupfer 


















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By the skillful, late C. C. Canan. 








By D. E. Knowles, Cincinnati, Ohio. 





































The above is one of the many fine specimens which appear in The Madarasz Book, published by Zaner & Bloser Company, Columbus, Ohio. 





FINE ART PENMANSHIP APPLIED TO LETTER WRITING 


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